~Bajirao Mastani Reviews/Box Office thread~ - Page 116

Bajirao Mastani Movie Review

Grandeur and hyperbole cast a needless shadow on a brilliant story!

If only Bhansali could indulge himself less and let the story narrate itself, if only!

The tale of Bajirao-Mastani, is a fascinating one in Indian history, part-folklore. That explains Sanjay Leela Bhansali's obsession with it despite all the water that has flown underneath the bridge since the first time he conceptualised it.

Brief history: Peshwa Baji Rao is considered one of the greatest Maratha warriors, encouraged by the Chatrapati, Shahu himself and adored by many. However, this movie, which starts with highlighting his war acumen, takes a detour to become a romantic epic of the Mughal-e-Azam kind. Bajirao (Ranveer Singh) is married to Kashibai (Priyanka Chopra). He is a Brahmin, fiercely brave and extremely forthright, a characteristic Ranveer brings out with great elan. He falls in love with Mastani(DP), the daughter of the King of Bundelkhan with a Persian mistress), who saves his life in battle. They fell in love with each other, after which Mastani chases the Peshwa and gets accepted by him. However, Bajirao's family, including his mother and brother Chimaji never accept her and make several attempts on her life. Most of this is true historically as well and one wishes not many creative liberties were taken with the view of highlighting the romance. The end was manipulative with the facts, once again, something that good filmmakers have a responsibility not to tamper with once they use real names.

Underlying themes: The movie is about three underlying themes.

1. Ranveer Singh's Bajirao is wild, energetic, quirky, fearless and pumped up. You cannot but help get drawn into Ranveer's charisma who dominates every scene despite being in the presence of two senior and extremely beautiful co-stars. He picks up some Peshwa mannerisms, but he is no method actor. He does justice to the role by bringing a bit of himself into it without compromising with the grace or dignity of the greatest Peshwa warrior. His eyes reflect intensity that take different shades in different moods - romantic, apologetic, hurt, disturbed, disappointed. Those eyes are never reckless, not for a moment, not in a single scene and for his performance alone, the movie could be watched.

2. The chemistry between Ranveer and DP doesn't sizzle. That should come as a news to people because there was raw attraction in Ramleela. DP and Ranbir lit up the screen just a few weeks back. Somehow playing a part in one of the greatest historical love stories, the two actors seemed distant despite the opportunity. DP's Mastani was lost in her tragedy and Ranveer's Bajirao at times seemed preoccupied. Although, it is not a big flaw, it would have been nice to at least mimic the kind of romance Hrithik and Aishwarya brought to Jodha Akbar.

3. The movie features two actresses who are also competitors in real life. But, Priyanka's Kashibai is demure, a little docile, a little traditional. She is hurt and torn between accepting her lover's lover and her own jealousy. Yet, she mostly does what is right and history is therefore kind to her. She even brings up Mastani's son in real history.

The movie is hinged on grandeur and grandiose. Bhansali often departs from the ethos of the story to make the setting look grand. Two ladies in love with the same man, draped heavily in colourful attire have to dance together. The reflections on the floors and the bokeh in the background have to dazzle you. The fountains in the middle of a group of court-men praying for their lord have to stand out. The waterfall and the crescent in unnatural settings have to distract you while important conversations between husband and a hurt wife are taking place. The movie's only character artist who gets good screen space is Tanvi Azmi as the slightly villainous mother of Bajirao. Azmi with her shaved head, half-sinister smile and nervous anxiety shows her acting prowess. The rest of the actors like Raja Murad, Milind Soman and Aditya Pancholi are wasted. Murad and Pancholi come and go for a scene leaving you wondering whatever happened to them. Mastani's own background, her parents in Bundelkhand are never brought into the picture again, suggesting that once she left that kingdom to marry Bajirao she totally denounced them. After a while, her handmaid from her kingdom disappears too, a little weird for a warrior princess. The ending is a little unfair too, almost doing injustice to the real story. The real story has the ingredients to show great love but by using needless metaphors like a jail with three walls and an open valley showing only death can free you is not really necessary. The cinematography, especially in the two-three war scenes is really good and the music is decent if not mesmerising. All in all, the movie has its moments but not so many that you can call it an epic.